It’s one of the better laughs in the Old Globe’s marital musical “I Do! I Do!”: When the uppity husband presents his wife with a full-page litany of complaints, she responds by pulling out a single index card of her own grievances — which proves to be a sheaf of them, unfolding accordion-style all the way to the floor.

Nothing nearly that extreme is needed to sum up the few rough spots accompanying the opening of the Globe’s Sheryl and Harvey White Theatre, which got its first real workout with “I Do! I Do!”

The show, which has its last performances today and stars (talk about full-Page) the married performers Patrick Page and Paige Davis, wasn’t necessarily meant to showcase all that the new theater can do. Its short run served as a soft opening for the arena-style space, the centerpiece of the $22 million Conrad Prebys Theatre Center.

But the White had the right intimate fit for the 1966 chamber musical by Tom Jones and Harvey Schmidt, better-known for the eternally running off-Broadway show “The Fantasticks.”

At first glance, the space — which joins the Globe’s 580-seat main stage and the 610-seat, outdoor Lowell Davies Festival Theatre in the Balboa Park institution’s lineup — can feel nearly identical to the Cassius Carter Centre Stage, the old theater it replaced.

With a capacity of 250, the White is slightly larger than the Carter, but the seats are arrayed in fewer rows for the most part, keeping the audience in close proximity to the stage. How close? At one point on opening night last week, Page patted the knee of a theatergoer as the actor sat along set’s edge. At another, he could have been taking dictation from folks in the front row as he pecked away on an old manual typewriter.

As the audience settled in before curtain, scattered gripes could be heard about legroom issues, but to these knees the space afforded seemed pretty standard, helped by the steep rake of the seating. More apparent was some mild confusion among staff members about what seat was where, and how best to get there — the kind of thing that’s understandable in a circular theater, and likely smoothed out over the course of the run.

In terms of versatility, the White has it over the makeshift Carter by a mile. For one thing, the new space has voms — dedicated passageways for cast members. In the old house, actors had to make all their entrances and exits on the same stairways the audience used, and most offstage sound emanated from what passed for the theater’s lobby.

Maybe it was one last, sentimental tip of the hat to the bygone Carter (it’s possible there’s some urgent protocol for these things among the hugely superstitious theater crowd), but in “I Do! I Do!,” Page and Davis actually make their first entrance on ... the audience stairways. Plenty of other scenes, though, exploit the ability to get in and out without so much fuss.